Price, 25 Cents 




Practical Instructions for 
Private Theatricals 

By W. D, EMERSON 

Author of "A Country Komance, " "The Unknown Eival,'- 
" Humble Pie," etc. 



Ptice, 25 cents 



Here is a practical liand-book, describing in detail all the 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of any- 
country. 

CONTENTS 

Chapter I. Introductory Remarks. 

Chapter II, Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Eeflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind, Eain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofa^ 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Man. 

Chapter IX. ,To the Stage Manager. 

Chapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



FROM KITCHEN-MAID TO 
ACTRESS 



A FARCE IN ONE ACT 



By 

KATHERINE KAVANAUGH 



CHICAGO 

THE DRAMATIC PUBLISHING COMPANY 

c 



P5 35Z\ 



OAST OF CHARAOTERS. 

Upson Downs, an actor. 
. Maudie Tatums, an actress (impersonating Sophie 
Slaggenheimer) . 

Scene : Plain room in New York rooming-house. 
c.^ entrance. Table and chairs, e, c. Sofa, l. 

PROPERTIES. 

Mss. of play. Newspaper. Letter. Wine bottle and 
glasses; 



Copyright, 1910, by The Dramatic Publishing Company. 



Notice. — The professional acting rights of this play are 
reserved by the publishers, from whom written permission 
must be obtained before performance. All persons giving 
unauthorized productions will be prosecuted to the full 
extent of the law. This notice does not apply to amateurs, 
who may perform the play- Without permission. 



'CLD" 22978 



FROM KITCHEN-MAID TO ACTRESS. 

[Ourtain rises on Upson Downs, seated at table, news- 
paper open before liim.] 

Upson. Gee ! If this isn't hard luck ! Here I've been 
out of a job a whole season; and now that I've been for- 
tunate enough to secure a high-class vaudeville engage- 
ment to play my new sketch, I can't find a partner. I've 
advertised in this morning's paper — yes, here it is : 
"Wanted — A talented young woman to take part in sketch 
with well-known actor; must he good-looking and capable 
of playing emotional business." I did have one applicant 
this morning, — a girl that lives downstairs ; but after look- 
ing her over I told her she couldn't act. I'm half sorry I 
didn't give her a trial ; maybe the poor girl needs the work 
as badly as I do; but I can't take chances. I hope to 
receive some answers from this before the day is out, but 
in the meantime I shall have to study up my lines. If I 
only had somebody to read me my cues — anybody — I don't 
care who — 

[Enter Maudie, impersonating Sophie Slaggenheimer, the 
kitchen-maid. She acts as a clumsy German servant; 
eccentric make-up. She puts letter on table and walks 
off, stumbling over her oivn feet, and generally acting 
silly. ^ 

Upson. [Follows her with his eyes, wondering.] What 
in the name of Heaven was that? Must be the new 
kitchen-maid; they do have the strangest things around 

3 



4 FROM KITCHEN-MAID TO ACTRESS 

this house ! "What did she bring in ? Oh, I see, — a letter ! 
[Opens it.] No; a bill. That's the eighth time they've 
sent me that bill this week. Thank the Lord, I'll soon be 
able to pay it. Well, I must get to work on my sketch. 
I'll try that first long speech — I can do that alone. [Bus. 
of acting.] "Free — free at last — but, ah, for how long? 
In an hour they will discover my escape, and drag me 
back to that dark and gloomy prison. But let them take 
me if they will ; I have had my hour of freedom ! I have 
gazed once more into your beautiful face and eyes of 
Heaven's own blue. Yes, take me back — take me back— 
I am satisfied— I have seen my beloved !" 

[Sophie has entered after lie legins acting; she begins 
to get frightened toward the end, and runs off, calling for 
help.] 

Upson, There's that doggoned kitchen-maid again. I 
wish she'd stay out of here. Now she'll go downstairs and 
tell them I've gone crazy. I think if I go over that speech 
a few times I'll have it 0. K. ; but that's as far as I can go 
without the girl. 

Sophie. [Putting her head through c. entrance.'] Is 
it over? 

Upson. Is what over? 

Sophie. The spasms ! 

Upson. Yes, it's over. Come in here. [She enters."] 
"What do you want, running in here every two minutes? 

Sophie. Mrs. Hardup, she say she wants some money. 

Upson. [Yells at her.] Money! [Sophie hacTcs away 
from him, falls over a chair.] By George ! — I have an idea. 
See here, my girl, can you act ? 

Sophie. Yah ! Mrs. Hardup — she say I act like crazy 
sometimes, 



FEOM KITCHEN-MAID TO ACTRESS $ 

Upson. [Laughs.] By George, she's right; you do act 
crazy. 

Sophie. Oh, dot's nutting. She ought to see you. Do 
you have dot fit every day like dot? 

IJpsoisr. That wasn't a fit. I was acting a part. Now, 
what I want is a partner, a young lady, — bright, talented, 
and, above all, handsome. 

Sophie. I vonder if he means me? 

Upsoisr, Do you think you could take a part? 

Sophie. Take a part ! I covld take the whole business. 

Upson. Now, let me explain. I will say these lines 
down to here: [Indicating on Mss.'] "I am satisfied; I 
have seen my beloved !" 

Sophie. Dot's me, ain'd it ? 

Upson. Yes; in the play I'm your lover. 

Sophie. Ach ! You are my loafer. 

Upson. Yes — No; I'm no loafer. I'm the heio. 

Sophie. Und what am I — de she-ro ? 

Upson. Yes, you're the — No; what are you talking 
about; — whoever heard of a she-ro? You are the heroine. 

Sophie. [Pouting.] Den I ain'd goin' to play. 

Upson. Why, what's the matter ? 

Sophie. Do I look like a herring? x\fter while you'll 
be hollering "Fish." 

Upson. No; you misunderstand. I am the hero, and 
I love with all my heart. 

Sophie. Ach ! You loaf mit all your hearts ? 

Upson. Yes ! 

Sophie. You always did. 

Upson. What ? 

Sophie. Loaf mit all your heart; you ain'd worked for 
a year. 

Upson. See here ! — are you going to play this part, or 
aren't vou? 



6 FROM KITCHEN-MAID TO ACTRESS 

Sophie. I'll play de part — but I won't be no herring. 

Upson". Now, watch for your cue. When I say, "I am 
satisfied ; I have seen my beloved !" you come out of the 
house over there, [Pointing l.] with a glass of wine in 
your hand — Oh, I forgot; we can't play the part, we have 
no wine. 

.Sophie. Will lemonade do ? 

Upson. Lemonade ? No ! Would you give a dying 
man lemonade ? 

Sophie. Ach, Gott ! Is he dying ? 

Ijpsojsr. Yes, he's dying. [Sophie starts toward c. 
entrance.] Where are you going? 

Sophie. I'm goin' to get a doctor. 

Upson. Wait! Have you any wine in the house ? 

Sophie. Dere is a bottle of claret, I t'ink. 

Upson. Well, get it. [Sophie starts to go-l Wait! 
What is your name ? 

Sophie. Sophie Slaggenheimer. 

Upson. Ain't that a name for a leading lady ! Sophie, 
charge the wine to the house. 

Sophie. Yah ! [Exits c] 

Upson. Well, this is awful; but it's the best I can do. 
She will serve to give me my cues, at any rate. I'll have 
a glass of wine by the operation, anyhow, if she don't fall 
up the steps and break it. [Noise of falling outside.] 
There she goes ! I knew it. 

[Enter Sophie, ivith bottle and glasses.] 

Upson. What was the noise? 

Sophie. Dot was Mrs. Hardup charging de vine to de 
house. I haf a question to ask you. 
Upson. AVell, what is it? 

Sophie. Who drinks de vine? What's de answer? 
Upson. I do. 



FEOM KITCHEN-MAID TO ACTRESS 7 

Sophie. Ah-ha ! — I t'o^^ght so. 

Upson. ISTow, we will begin. This is supposed to be a 
garden — 

Sophie. Vait a minute. I haf anudder question. 
Don't I git no vine ? 

Upson. No, you don't ; I get it. . 

Sophie. Oh ! — I fought so. 

Upson. Now, pay attention ! This, as I said before, 
is the garden. Now, here is the fence. 

Sophie. Dot's a fence ? Ain'd it a lof ely fence. 

Upson. Yes. Do you understand what I'm explaining ? 

Sophie. Yah ! — but I vant to interrogation you. Why 
is de reason I git no vine ? 

Upson. Because I get it, — see ? 

Sophie. Ah-ha ! — I fought so. 

Upson. Now, over there [Indicating^ is the — 

Sophie. Look out ! You're standing on de fence. 

Upson. See here ! If you don't stop interrupting me, 
you can't play. Do you think I'm a monkey ? ' 

Sophie. Ah-ha! — I fought so. 

Upson. Now, get down to business. You understand, 
this is a garden, over here is the fence, and— 

Sophie. [Speaking to someone in the audience.] dies, 
I will be oud in a minute. As soon as dis gentlemans gets 
through making me foolish, I will join you. 

Upson. [SJiaJcing her.'] Here, here ; who are you talk- 
ing to? You are not supposed to talk to anybody out 
there? 

Sophie, No ? Den vhy did you ask dem to come ? 

Upson. See here ! — are you going to play this part, or 
aren't you ? 

Sophie. I'll play de part, but I won't be no herring. 

Upson. Now, then, listen. There is the house. 
IPointing.] 



U FBOM EITCHEN-MAID TO ACTRESS 

Sophie. Over dere is de house ? 

XJPSON. Yes. Do you see it ? 

Sophie. Ches; it's got green shutters and a lightning- 
fed OS top. 

Upson. No, no; that's the house next door. 

Sophie. Oh, ches; where de lady is looking out de 
window. 

Upson. Now, over here at the table is where I fall. 

Sophie. Do you fall before you drink de vine ? 

Upson. Yes; and when I fall you come out of the 
liouee, with a glass of wine in your hand, when I say 
those words, "I am satisfied; I have seen my beloved!" 
Now, get ready. 

Sophie. Wait a minute; I want to go out and get a 
house. ^Starts.'] 

Upson. No; you must make believe there is a house 
there. 

Sophie. You didn't haake believe dere vas vine. Well, 
show me where de door is, 'cause I niight come out de 
second-story window und break my neck. 

Upson. The door is supposed to be over there. Now, 
remember, — when I give you your cue, come out of the 
house, with the glass of wine, and say, "The servant in- 
forms me you are indisposed ; can I assist you ?" Do you 
understand ? 

Sophie. I t'ink so — maybe — not. 

Upson. [Acting.] "Free — free at last !^but, ah! for 
how long? In an hour they will discover my escape and 
drag iiie back to that dark and gloomy prison. But let 
them take me if they will. I have had my hour of free- 
dom. I have gazed once more into your beautiful face and 
eyes of Heaven's oWii blue. Yes, take me back— take me 
back— I am satisfied— I have seen my beloved 1" 

Sophie. [Becomes more and more affected hy his 



I^EOM KITCHEN-MAID TO ACTRESS 9 

Speech; at last cries, and puts her apron to her eyes.'] Ach, 
Himmel, I vas so sorry for you. I vas so sorry for you. 

Upson. Stop that crying ! This is only acting. 

Sophie. But it's such bad acting, I haf to cry. 

IJpsoN". Now we'll try it all over again. You say, 
"The servant informs me you are indisposed; can I assist 
you ?" Now, get ready. [He repeats part of his speech, to 
give her the cue.] Come on ; come on ; — ^that's your cue. 

Sophie. [Awkwardly.] "De serpent conforms me you 
are in your clothes. Are you, my sister ?" 

Upson. [Disgusted.] No, no, no ! It's all wrong. 
And you forgot the wine. [Sophie quicJcly gives him glass 
of wine, he drinks it; he holds glass for more, she pours, 
and he drinks it.] Now we will skip that part and go to 
the strongest scene of the play, — the part where he dis- 
covers her unfaithfulness and upbraids her. You under- 
stand, he has found her out ? 

Sophie. Ches, — out in de garden. 

Upson. No, — in her wickedness; and he is angry — 
angry enough to kill her. These are the lines [Acting] : 
"Ah-ha, you fair, false fiend, — all my life I have believed 
in you, — hoped in you, — loved you. All my life I have 
been your willing slave, — ^your dupe, — your toy; but now, 
by Heaven, the tables are turned !" 

Sophie. [Begins to get frightened at beginning of 
speech, becoming more so as the lines go on; she backs 
away from Upson, butting into chairs, falling over the 
sofa, and at above cue rolls over the table to get out of his 
way.] Und so am I. 

Upson. [Continues acting, and follotving up Sophie.] 
"Henceforth I am your slave no longer. From this mo- 
ment on I am your lord and master, — do you understand? 
No longer shall I crawl at your feet, begging a smile, — a 



10 FROM KITCHEN-MAID TO ACTRESS 

kind word, No longer shall I submit to your lies and 
duplicity. You have made a demon of me !" — 

Sophie. [Still getting out of his way.] Help ! Oh, 
Mrs. Hardup ! Help ! 

Upson. — "You have chilled every warm, generous im- 
pulse of my heart. Tell me, you beautiful fiend, what 
have you to answer ?"-— 

Sophie. [Eochausted, sits on floor and cries.] I never 
done it; I never done it. I want to go downstairs; — I 
don't want to be no actor. 

Upson. Oh, get up and get out of here ! You're hope- 
less ! I've just wasted my time ! \_Helps her to her feet 
and pushes her to c. door.] Go downstairs, and never let 
me see your face again! [Turns from her.] 

Sophie. [At c. door.] Say, mister, won't you give me 
the job ? 

Upson. What ! — to play this part [Indicating Mss.] ? 
Why, girl, you're crazy ! Your nothing but a stupid block- 
head of a Dutch servant ! 

Sophie. I'm not a servant; I was only playing a part. 

Upson. Playing a part? My dear young lady, if you 
could act that well in another line of business, I'd engage 
you this minute. 

Sophie. Well, then, engage me. [Takes blonde ivig 
off.] I'm Maudie Tatums, the actress. 

Upson. The girl I turned doAA-n this morning? 

Sophie. Yes, — because you said I couldn't act ! 

Upson. [Holds out his hand.] I take it back. You're 
engaged for my new sketch. What shall we call it ? 

SoPi-iiE. "From Kitchen-Maid to Actress." 

[CUETAIN.] 



Uncle Rube 

An Otigfnal Homestead Play in Four Acts 

By CHARLES TOWNSEND 
The Finest Rural Drama Ever Published 



Price, 25 cents 



CHARACTERS 

RUBEN RODNEY (Uncle Rube), Justice of the Peace, School 

Trustee, and a master hand at "swappin' hosses". . . .Character lead 

SIMON SMARLEY, a smooth and cunning- old villain 

Character heavy 

MARK, his son, a promising young rascal Straight heavy 

GORDON GRAY, a popular young artist Juvenile lead 

UPSON ASTERBILT, an up-to-date New York dude 

.Character comedy 

IKE, the hired man. "I want ter know:" Eccentric 

BUB GREEN, a comical young rustic .....Low comedy 

BILL TAPPAN. a country constable Comedy 

MILLICENT LEE. "the pretty school teacher" ..... .Juvenile lady 

MRS. MARTHA BLTNN, a charming widow. .. .Character comedy 

TAGGS, a waif from New York Soubrette 

Time — Mid Autumn. Place — Vermont. 

Time of playing — Two hours and a quarter. 

SYNOPSIS 

ACT I. The Old Homestead. Uncle Rube arrives. 
ACT II. The Constable's office. The plot to ruin Uncle Rube. 
ACT III. Evening at the old farm. Uncle Rube is arrested. 
ACT IV. The Constable's office again. The old farmer wins! 

Th:s play was v/ritten by one of the most popular of American 
dramatists, whose works have sold by the hundreds of thousands. 
One of the best plays of its class ever written. Splendid characters. 
Powerful climaxes. Bright wit. Merry humor. Very easy to pro- 
duce. Requires only three scenes. No shifts of scenery during any 
act. Costumes all modern. No difficult properties required. 

THE AUTHOR'S OPINION; 

MR. TOWNSEND says of this drama: "I consider that 'Uncle 
Rube' is far superior to any play depicting country life that I have 
yet written." 



This is the play for everybody — amateurs as well as professional-'. 
It can be produced on any stage, and pleases all classes, from the 
most critical city audiences to those of the smallest country towns. 
Printed directly from the author's acting copy, witli all the original 
stage directions. 

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CHICAGO, ILLINOIS 



A Woman^s Honor 

A Drama in Foof Acts 

Bv JOHN A. FRASER 
Adthor of "A Noble Outcast," "Sant'ago," "Modern Ananias," •tC 

Price, 25 wcnts 

Seven male, three female characters. Plays two hours. Fo? 
fntense dramatic action, thrilling climaxes, uproarious comedy and 
a story of absorbing romantic interest, actors, either professional 
or amateur, will find few plays to equal "A Woman's Honor." 
With careful rehearsals they will find a sure hit is made every tima 
without difficulty. 

CAST OF CHARACTERS 

General Mark X,ester. A Hero of the Cuban Ten Tears' ■War..Leaa 

Pedro Mendez. His half brother Heavy 

Dr. Garcia. Surgeon of the Madaline Straight 

Gilbert Hall, M. D. In love with Olive Juvenile 

Robert Glenn. A Wall Street Banker Old man 

Gregorv Grimes. Lester's Private Secretary Eccentric Comedy 

Ebenezer. Glenn's Butler , Negro Comedy 

Olive f Glenn's I Juvenile lead 

Sally ( Daughters J Soubrette 

Maria. Wife of Pedro Character 

NOTE. — Glenn and Garcia may double. 

Act 1= The Glenn Mansion, New York City. 

Act 2. The Isle of Santa Cruz, off San Domingo. One month 
later. 

Acts 3 and 4. Lester's home at Santa Cruz. Five months later. 
Between Acts 3 and 4 one day elapses. 

SYNOPSIS OF INCE)ENTS 

Act 1. Handsome drawingroom at Glenn's. Sally and Ebenezer. 
"I isn't imputtinent, no, no. INTissy." "Papa can't bear Gregory 
Grimes, but I'm going to marry him, if I feel like it." "Going 
away?" "I was dizzy for a moment, that was all." "This mar- 
riage is absolutely necessary to prevent my disgrace." "General 
Lester, you are a noble man and I v/ill repay my father's debt of 
honor." "Robert Glenn is dead." 

Act 2. Isle of Santa Cruz. "Mark brings his American bride to 
his home today." "You and I and our child will be no better than 
servants." "How can I help taut be happy with one so good and 
kind?" "It means that I am another man's wife." "Dat's mine; 
don't you go to readin' my lub lettahs in public." 

Act 3. Sitting-room in Lester's house. "What has happened?' 
"Is my husband safe?" "Break away, give your little brother a 
chance." "To tell the truth, my heart is breaking." "Debt or 
duty! and I was fool enough to think she loved me." 

Act 4. "The illness of the general has an ugly look." "The 
gossips have it she would reloice to be rid of her husband." "The 
Gilbert Hall I loved is dead." "Standing on the brink of th« grave, 
mv vision is clearer." "Forgive, and I will devote my life to 
making you happy in order to repay the debt I owe you — a debt oi 
honor." 

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Tht Spinsters^ Convention 

(The Original 
Old Maids' Convention) 



Price; 25 cents 



An evening's entertainment v/hieh is always a sure hit and 
a money-maker. Has teen given many hundred times by 
schools, societies and churches, with the greatest success. An 
evening of refined fun. It requires from twehe to tiventy 
ladies and two gentlemen, although ladies may take the two 
male parts, A raised platform with curtains at the back is 
all the stage requires, but a fully equipped opera stage may 
be utilized and to great advantage. 

Eidiculous old maid costumes, with all their frills and fur- 
belows, their cork-screw curls, mittens, work bags, bird cages, 
etc., are the proper costumes. Later on in the program some 
pretty young women in modern evening dress are required. 
The latter should each be able to give a number of a mis- 
cellaneous program, that is, be able to sing, play some instru- 
ment, dance, whistle or recite well. 

This entertainment utilizes all sorts of talent, and givea 
each participant a good part. Large societies can give every 
member something tc do. 

SYNOPSIS 

Gathering of the Members of the Society — The Roll-Call — The 
Greeting Song — Minutes of the last meeting — Report of The Treas- 
urer — Music: "Sack Waltz"^ — A paper on Woman's Rights — Song: 
"No One to Love, None to Caress." — Reading of "Marriage Statis- 
tics" — The Advent of the Mouse — Initiation of two Candidates into 
the Society — The Psalm of Marriage — Secretary's Report on Eligible 
Men — A Petition to Congress — Original Poem by Betsy Bobbett— 
Song: "Why Don't the Men Propose?" — Report of The Vigilance 
Committee — An Appeal to the Bachelors — Prof. Make-ever— T^e 
Remodelscope. -Testimonials — The Transformation and a misc«l« 
laneous program. . 

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CHICAGO, IJ-LINOIS 



Won Back 

A Play in Fowr Acts 

By 
CLIFTON W. TAYLEUR 

Price, 25 cents 

Six male, four female characters. A play written In the same 
vein as "Held by the Enemv," "Shenandoah," "Across the Poto- 
mac " and other gjreat New York successes. Mr. Tayleur has writ- 
ten many successful plays, hut this striking picture of the stirring 
times of the Great Rebellion .surpasses them all. Costumes, civil 
and military of the period. Scenes, two interiors, and one land- 
scape with Confederate camp, easily managed. Time of playing, 
two hours and thirty minutes. 

SYNOPSIS OF EVENTS 
ACT I— Drawing-room, Arlington, Washington— J860 

"Whom first Vv'e love, you know, we seldom wed; 
Time rules us all: and life indeed is not 
The thing we planned it out. ere hope was dead, 
And then, we women cannot choose our lot." 
In fetters— The rivals — North gnd South — The coy widow — A 
noted duelist— An old affection— The dismissal— The rivals meet — 
"You shall answer for this" — Farewell. 

ACT II — Same Scene— I860 

"Who might have been — Ah, what, I dare not think! 
We are all changed. God judges for the best, 
God help us do our duty, and not shrink. 
And trust in Heaven humbly for the. rest." 
Broken tie.s — A Vassar girl's idea of matrimony — A Washington 
savage— Schooling a lover— Affairs of honor— The Northern fire- 
eater — The missing challenge — Betrothed. 

ACT III — Drawing-room in Ne-w York Hotel— 1 86 J 

"With bayonets slanted in the glittering light 
With solemn roll of drums. 
With starlit banners rustling wings of night, 
The knightly concourse comes." 
To arms! To arms! — Stand by the flag — A woman's duty — A 
skirmish in the parlor — On to Richmond — Reunited — The passing 
regimiCnt. 

ACT IV— Confederate Camp at Winchester 1864 

"No more shall the war cry sever, or the winding river be red; 
They banish our anger forever, when they laurel the graves of our 
dead." 
A cowards" armor — A hand to hand struggle — Hugh captured — 
'Sentencer! to be shot — A ministering angel — Harold King's re- 
venge—The attack on the camp— Death of King— After the battle— 
Won back. 

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THE DRAMATIC PUBLISHING COMPAlSry 

CHICAGO, ILLINOIS 



Joe Ruggles 

OR 

THE GIRL MINER 

A Comedy Drama in Font Acts 

By FRANK J. DEAN 
Price, 25 cents 

Nine male, three female characters. A. vigorous, stirring play,, 
depicting- peculiar types of life in a large city and in the mining 
districts of the West. The parts of Joe Ruggles. the miner, Hans 
Von Bush (Dutch dialect), and Richard Hamilton, the scheming 
villain, all afford opportunity for clever work; while the part of 
Madge (soubrette), who afterwards assumes the character of Mark 
Lynch, is an excellent one for a bright young actress. 

Scenery — City street, showing R. R. Station; rocky pass, with 
eet cabins; a wood scene, and two plain interiors. Costumes of the 
.day. Time of playing, two and a half hours. 

SYNOPSIS OF EVENTS 

ACT 1— Entrance to Railroad Station 

Looking for a victim — Joe Ruggles — "Them galoots is worse than 
grizzlies" — "Morning papers" — Madge and Bess plying their trades— 
"Can't you sing Joe a song?" — Hamilton and his pal confer — Tom 
Howarth gains inportant information — "Don't you dare to lay 
hands on us!" — Hamilton tries to maintain his authority — "Who? 
Old Joe!" 

ACT II — Doomsday's Hotel, Dare-devil's Gulcli, California 

The landlord secures a guest — Hans disappointed — "Dot is a mis- 
dake" — A ghost story — The "Kid and his sister" — "Did I hurt your 
highness?" — Hans and Doomsday have another talk — Kate Laurel 
meets the young miner — "Yah, dot vas vot I t'inks" — Madge's dis- 
guise penetrated — She recognizes an old enemy — "Now, George 
Smith, take your choice" — Joe Ruggles as a tramp — "Ef yer think 
yer can pick on me becaiase I'm han'some ye'll find me ter hum" — 
Hamilton appears — "Those two youngsters are mine" — The tramp 
takes a hand. 

ACT III— Wood Scene 

A lively ghost — Hamilton and Smith plan more villainy — Old Joe 
thinks of turning Detective — Kate Laurel again — "There is a secret 
connected with my life" — Kate's confession — "What do you mean, 
sir?" — Tom Howarth once more — "Vos you looking for a hotel?" — • 
Planning an abduction — Old Joe as an Irishman — "Phat does yez 
want wid me?"— Undertakes to he a detective — Takes a han(? i» 
the abduction — "Do it at your peril." 

ACTrV 

Hans hears, and tells, the latest news — "I nefer pelieved dot 
spook peesness" — Kate Laurel astonished — Hamilton attempts 
flight — "De poys haf got Mr. Hamilton, und dey vill gif him a 
necktie barty" — Arrest of ' Smith — "Get out mit my vay, I vas de 
United States Mail" — Tom meets his old friend under new circum- 
stances — "Do you want me, Tom?" — Old Joe gives consent — 4 
happy ending. 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. UJJNOJS 



Because I Love You 

Dtama in Fouif Acts 

By JOHN A. FRASER 

Author of "A Woman's Honor," "A Noble Outcast," "A Modem 

Ananias," "Santiago," etc. 

Price, 25 cents 

Eight male, four female characters. Plays two hours. Modem 
costumes. This is probably the strongest drama written of the 
modern romantic style. It is a pure love story and its sentiment 
and pathos are of the sterling, honest kind which appeals to every 
man and woman with a human heart. The stage business will be 
found extremely novel, but easily accomplished. The climaxes are 
all new and tremendously effective. One climax especially has 
never been surpassed. 

CAST OF CHARACTERS 

Imogene Courtleigh. Wilful, wayward and wealthy Juvenile lead 

Ginger. A Gypsy waif Soubrette 

Nance Tyson. Her supposed mother Character 

Prudence Freeheart. A poor relation Old maid comedy 

Horace Verner. An artist and accidentally a married man 

Juvenile lead 

Dick Potts. His chum and incidentally in love with Ginger 

Eccentric comedy 

Ira Courtleigh. Imogene's guardian .Heavy 

Buck Tyson. A Gypsy tinker Character comedy 

Elmer Van Sittert. Anglomaniac, New Yorker Dude comedy 

Major Duffy. County Clerk and Confederate veteran 

Irish comedy 

Squire Ripley. A "Virginia landlord Character old man 

Lige. A gentleman of color Negro character 

Note: Squire Ripley and Van Sittert may double, 

SYNOPSIS OF SCENES 

Act 1. "The George Washington," a country tavern in old Vir- 
ginia. An impromptu wedding. "When I was on the boards at 
old Pott's theayter." "Horace has fallen in love and has done 
nothing but rave about her ever since." "The marriage ceremony 
performed, I depart, and you will make no attempt ever to see ma 
again." "Except at your own request, never!" 

Act 2. Lovers' Leap, a Blue Mountain precipice. A daring res- 
cue. "Gold does not always purchase happiness, lady." "Do you 
ever feel the need of a faithful friend?" "I do, I do, I'm thinking of 
buying a bulldog." "Look at the stride of him, and Imogene 
Bitting him as if he were a part of herself." Within twenty feet 
of certain death. "Gone? Without even my thanks for such a 
deed of desperate heroism?" 

Act. 3. The Courtleigh Place. A woman's folly. "And you say 
his father was a gentleman?" "I have already refused to sign the 
document." "Stand back, she is my wife." 

Act. 4. The "Mountain Studio." "You're too good to let that 
French girl get you." "I struck him full in the face and the chal- 
lenge followed." "You will not meet this man, dear love?" "It 
Bhall, at least, be blow for blow." "I'll release you from your 
promise. Fight that man." "I'm the happiest man in old Vir-» 
fcinia, because you love me." 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

OflCAGC. ILUNOIS 



Hageman^s Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The Importance of an effective make-up is becoming' m^,^^ appar- 
ent to the professional actor every year, but liitherto there ''has been 
no book on the subject describing the modern methods and at tlie 
same time covering all branches of the art. This want has now 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encj'clopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
any other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The IVIake-up Box. Grease-Paints, Mirrors, Face 
i'owder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before Making up; the Straight Make- 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, witli Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects, Wigs. Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Bearcfs, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers. Southerners, 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlerg, 
Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portiiguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies, Russians, Turks, Arabs, Moors, CafRrs, Abys- 
sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary; 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMA'nC PUBLISHING COMPANV 

CHICAGO. iLLINOi«'t 




JAU 3 jg 



PLAYS 

And Entertainment Books» 

JjjEING the largest theatrical booksellers in 
^^ the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other "make-up' * 
materials. 

The Dramatic Publishing Company 
CHICAGO 



